Ever wonder what your clarinet could sound like if it didn’t have to sound “perfect”? On November 21, clairnetist Jeff Anderle will take you on a journey of musical discovery in our online “Weird Sounds for Clarinet” workshop, which promises to be fun, funky, and surprisingly practical.
We reached Jeff at his Oakland home to find out more about his own life in music—weird and traditional.
We have a treat in store for amateur choral singers: On six Saturdays beginning November, Amateur Music Network will host Singing Saturdays with Ragnar Bohlin, featuring music by Mozart, Bach, Brahms, and Handel, as well as holiday favorites. One singer who’ll be eagerly participating is soprano Abigail Millikan-States of Corte Madera, California, who told us: “Choral singing is my greatest passion, and it’s truly an honor as an amateur singer to have the opportunity to work with Ragnar.” We asked Abigail to tell us more about singing on- and offline.
We’re concluding our Early Music for Modern Instruments series with an October 24 online workshop with acclaimed pianist, fortepianist, and composer Eric Zivian. To learn more about the secrets of the fortepiano—the predecessor of the modern piano—we reached Eric at the Berkeley home he shares with his professional and life partner, the cellist Tanya Tomkins; and three pianos of different vintages.
Our Early Music for Modern Instruments series continues with an October 17 online workshop taught by William Skeen, a principal cellist with Philharmonia Baroque Orchestra and American Bach Soloists. Bill is also the co-founder of the New Estherhazy Quartet, whose repertoire includes more than 150 string quartets performed exclusively on gut strings. He spoke with us from his home in Oakland to give us a glimpse into the life of an early-music specialist.
We were pleased to see this in-depth coverage of our Early Music for Modern Instruments series. SFCV’s article conveyed the adventure we hoped our community of musicians could travel, learning how to incorporate stylistic elements of “historically informed performance” into their playing for repertoire of the Baroque and Classical periods.